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User:Xiang Jiaying

2026-06-29T15:24:23Z

Xiang Jiaying: Created page with "Cloud shoulders 1. Introduction Cloud shoulders, also known as "shawls" or "shoulder straps," are decorative fabrics placed on the shoulders in ancient China. The origin of i..."

Cloud shoulders
1. Introduction
Cloud shoulders, also known as "shawls" or "shoulder straps," are decorative fabrics placed on the shoulders in ancient China. The origin of its name is generally believed to come from its patterns resembling clouds and rainbows, and its shape resembling layered clouds. Functionally, cloud shoulders were originally used to protect the neckline and clean the shoulders, serving a practical purpose; However, with social development and rising aesthetic demands, it gradually evolved into purely decorative objects mainly made of colorful brocade, with practical functions diminishing and aesthetic and cultural expression increasingly prominent. Although it was not the main part of clothing, its exquisite shape, intricate craftsmanship, and profound symbolism made it one of the most recognizable decorative elements in ancient women's clothing. From early images of Dunhuang murals to surviving artifacts from the Ming and Qing dynasties, the figure of Yun Jian spans a thousand years, carrying the ingenuity of generations of artisans and the wishes of their users for a better life.
2. Evolution and Development
The origin of the cloud shoulder can be traced back to the shawls and capes worn during the Qin and Han dynasties. The earliest cloud shoulders appeared in the clothing depictions of mythological figures such as the Queen Mother of the West, Fuxi, and Nüwa. During the Han dynasty, folk depictions of feathers on the shoulders of the Queen Mother of the West were regarded as the prototype of cloud shoulders. The image of the cloud shoulder first appeared in murals from the Sui Dynasty in Dunhuang, where noblewomen were already using cloud shoulders, and the statue of Guanyin Bodhisattva was also draped in cloud shoulders. The term "cloud shoulder" officially appeared in the Jin dynasty, while the Yuan dynasty was a key period for the shape of the cloud shoulder to be fixed. The 'Yuan History: Treatise on Carriages and Attire' records: 'The cloud shoulder is made like four hanging clouds, with blue edges, yellow gauze in five colors, and inlaid with gold.' This description outlines the basic appearance of the Yuan dynasty cloud shoulders—four hanging cloud structures encircling the shoulders, colorful and exquisitely crafted. During the Yuan dynasty, the cloud shoulder was mainly worn by court dancers and entertainers during festivals, and had not yet become widespread among the common people. In the Ming Dynasty, Yun Jian moved from the imperial court to the common people. Court noblewomen used it as a ceremonial ornament, usually paired with precious items such as gold, pearls, jadeite, and pendants to highlight their noble status; In the mid to late Ming Dynasty, common women also began using it as a decorative item on their ceremonial attire, and the cloud shoulder became widely popular among the people. The Qing Dynasty was the peak period of the cloud shoulder's development. It is an essential attire for Han weddings, popular across all social classes, and is also widely used in children's clothing. According to the Qing Bai Lei Chao, clothing, the shape of the cloud shoulder can be divided into three grades based on size: the most ornate is called the "palace dress," usually used as an accessory for ceremonial attire; The next is called 'Cloud Shoulder'; The smaller ones are called 'Gebin'. Ye Mengzhu described the palace costume in more detail in his "Yueshi Bian": "White silk was cut into cloud patterns, draped over both shoulders, embroidered with flowers and birds on the chest and back, adorned with gold beads, gems, and bells, giving the movement a sense of luxury." After the Republic of China era, with the penetration of Western costume culture, the cloud shoulder gradually withdrew from the everyday costume system and was mainly preserved as a traditional female costume in opera. This change is both the result of the Westernization of clothing and the structural transformation of the traditional clothing system.
3. Form
The shape of the cloud shoulders radiates or rotates symmetrically from the neck as the center, generally following the rules of symmetry and balance. According to their structural hierarchy, they can be divided into single-piece, laminated, mixed, and connected types. Common forms include the following: Sihe Ruyi style. This is one of the most common cloud shoulder styles. The four cloud heads unfold in four directions, forming a "four-in-one" (four combinations), symbolizing wishes in all directions and smooth progress in all directions. The overall design is simple and elegant, with smooth lines that give off a dignified and steady impression. Willow Leaf Style Its shape resembles a willow leaf, slender and elegant. It is usually composed of multiple layers of willow-leaf-shaped embroidery pieces stacked together, with edges decorated with exquisite embroidery patterns such as flowers and vines, appearing lively and elegant, symbolizing the garden's vibrant colors and evergreen life. Round flower style Centered around a round flower cluster, surrounded by multiple layers of embroidery pieces. Tuanhua comes in a rich and diverse array of patterns, including peonies, lotuses, plum blossoms, and other flowers, symbolizing different qualities such as wealth, purity, and resilience. Longevity peach style Its shape resembles a longevity peach, symbolizing longevity and health. These cloud shoulders are usually embroidered with longevity-related patterns such as longevity peaches, cranes, and pines and cypresses, with relatively elegant colors that evoke a sense of peace.
4. Patterns and Symbolism
The decoration of cloud shoulders follows the principle that "cloud shoulders must have decorations, decorations must be adorned, and decorations must contain auspicious meaning." The themes of the cloud shoulder motif include flowers, birds, insects, fish, flying birds and beasts, opera stories, myths, legends, and more. Among floral and plant motifs, peonies symbolize wealth and nobility, lotuses represent purity and fertility, and pomegranates represent many children and good fortune. Among the rare birds and auspicious beasts, the deer is a homophone for 'Lu' (prosperity), symbolizing official rank and fortune, while the bat is a homophone for 'Fu' (fortune), symbolizing good fortune. Character story patterns like "Qilin Delivering Children" convey the beautiful wish for children. Text and combined patterns, such as the character "longevity" (寿) (longevity), represent boundless longevity. These patterns are not only objects of aesthetic appreciation but also visual carriers of specific cultural concepts. In terms of color, the cloud shoulder is deeply influenced by the traditional Chinese theory of the "Five Elements and Five Colors," mainly consisting of black, red, white, cyan, and yellow, supplemented by other colors, creating a rich visual layer.
5. Manufacturing process
The craftsmanship of cloud shoulder is intricate and complex, involving design, cutting, sewing, embroidery, and finishing the finished product. Every step requires careful operation to present graceful curves and rich patterns.
1. Design and material selection The first step in making cloud shoulders is design. Designers need to consider the size, shape, texture, and color of the shoulder and coordinate them with the overall outfit to make it dignified and attractive. Common fabrics include silk, silk, and cotton. The outer fabric should be glossy, the lining should be breathable and comfortable, and decorative parts may include satin, sequins, tassels, and so on. Embroidery threads need to coordinate with the fabric color to ensure overall aesthetic appeal.
2. Cutting and sewing When cutting, first draw the shape of the cloud shoulder on paper, then cut the fabric according to the shape, paying attention to direction and size to ensure a perfect fit during sewing. During the sewing process, the fabric should be butt and stitched to keep it flat, and using large stitch spacing can create smooth curves. Flanging is a key step; after sewing, the shoulder should be flipped over to make the contour more three-dimensional.
3. Embroidery craftsmanship the cloud shoulder embroidery techniques are diverse, including twisting stitches, joining stitches, rolling stitches, loosening stitches, nailing threads, striking pieces, encircled gold rings, grabbing stitches, and aligning stitches. The patterns are diverse, including immortals, flowers, birds, fish, insects, figures, landscapes, and auspicious symbols, each embodying auspicious meanings through different elements. During embroidery, the layered stitching technique can be used to enhance the three-dimensional effect through layered layering.
4. Finished product sorting and maintenance After production, the cloud shoulders are hung for a period of time to make the shape soft and full. Finished product finishing includes trimming thread ends, ironing and smoothing, cleaning surface dust, and paying attention to sun protection and storing in a dry, ventilated place to prevent fading and mold.
6. Cultural Connotations
1. Bionic thinking and the unity of nature and humanity The shape of the cloud shoulder itself embodies a bionic design philosophy. Drawing inspiration from the natural forms of clouds, freezing the ever-changing clouds into shoulder decorations, this process itself embodies the wisdom of "learning from nature." The name and shape of the cloud shoulder subtly align with the traditional Chinese philosophical concept of "unity of heaven and humanity"—wearing natural imagery on one's body reflects people's reverence and closeness to nature.
2. Folk psychology and auspicious culture The cloud shoulder motif system is a concentrated expression of folk auspicious culture. Behind the decorative logic of "Every image must have intention, and intention must be auspicious" lies the widespread aspiration of agrarian society for fertility, wealth, longevity, and peace. These meanings can be summarized into four dimensions: "wealth, nobility, longevity, and joy," reflecting the emotional demands and value orientations of the people under specific social structures. Every pattern on the cloud shoulder—whether it's the shape of the four-in-one ruyi or specific motifs like the Eight Immortals, flower butterflies, and bats—is an externalization of this cultural psychology.
3. Ritual Order and Identity Markers The use of cloud shoulders also carries a clear hierarchical meaning. During the Ming and Qing dynasties, the material, patterns, and size of cloud shoulders were closely related to the identity of the wearer. Palace attire adorned with gold, jewels, and stones was considered noble ceremonial attire; Although the common yun shoulder is also exquisite, its design differs. This difference makes the cloud shoulder a carrier of identity, reflecting the symbolic function of clothing in social stratification. At the same time, as part of the wedding attire, the cloud shoulder also participated in the construction of traditional ritual order.
7. Modern transformation
In recent years, the cloud shoulder has been undergoing a transformation from "traditional clothing accessories" to "cultural and creative resources." Today, the cloud shoulder is integrated into life with a fresh attitude, becoming a new fashion. Designers combine modern aesthetics and technical means to cleverly incorporate cloud shoulder elements into contemporary clothing, or use cloud shoulders as inspiration for simplified and symbolic recreations, making them key elements of the "New Chinese Style" style. As cultural confidence continues to grow, more and more young people are eager to wear traditional culture on their bodies. Some universities have incorporated cloud shoulders into academic gown designs and incorporated auspicious meanings, adding floral hairpins to the academic cap, creating a unique new Chinese style of dressing. With the crisp shape created by the cloud shoulders on the shoulders, the solemn aura of the academic gown is well conveyed. At the same time, this sense of solemnity appears soft and rounded due to the shape and symbolism of the cloud shoulder, full of scholarly beauty.

Key Terminology
云肩 Cloud Shoulder
披肩 Shawl
搭肩 Shoulder Strap / Shoulder Cover
披帛 Pashmina / Long Scarf
帔子 Cape / Short Wrap
四合如意式 Sihe Ruyi Style (Four-in-One Ruyi Shape)
柳叶式 Willow Leaf Style
团花式 Round Flower / Tuanhua Style
寿桃式 Longevity Peach Style
宫装 Palace Dress / Ceremonial Robe
阁鬓 Gebin (Small Cloud Shoulder)
五行五色 Five Elements and Five Colors Theory
暗八仙 Eight Immortals (Hidden/Eight Emblems)
麒麟送子 Qilin Delivering Children
堆绫绣 Appliqué Embroidery / Stacked Silk Embroidery
挽针/接针/滚针等 Various Embroidery Stitches (Twisting, Joining, Rolling, etc.)
新中式 New Chinese Style / Neo-Chinese Style
学位服 Academic Gown / Graduation Robe

Question
1. What is the origin of the name 'Cloud Shoulder'?
2. What was the original function of the Cloud Shoulder? What changes happened afterwards?
3. What kind of transformation has cloud shoulder undergone in recent years?
4. During the Ming and Qing dynasties, what factors were closely related to the material, decoration, and size of cloud shoulders? What function does this reflect in clothing?
5. What steps are included in finished product preparation? What should you pay attention to during maintenance?

云肩
一、引言
云肩，又称“披肩” “搭肩”，是中国古代置于肩部的装饰织物，关于其名称的由来，一般认为是因其纹样如云霞彩虹、造型似层叠云朵而得名。从功能上看，云肩最初用于保护领口和肩部清洁，带有一定的实用目的；但随着社会的发展和审美需求的提升，它逐渐演变为以彩锦绣制为主的纯装饰性物件，实用功能渐趋弱化，审美功能和文化表达功能日益凸显。它虽然不是服装的主体，但却凭借着精巧的造型、繁复的工艺和深沉的寓意，成为古代女性服饰中最具辨识度的装饰构件之一。从敦煌壁画的早期图像到明清时期的传世实物，云肩的身影跨越千年，承载着历代匠人的巧思与使用者对美好生活的祈愿。
二、演变与发展
云肩的起源可追溯至秦汉时期的披帛与帔子。最早的云肩出现在西王母、伏羲、女娲等神话人物的衣饰描绘中，两汉时期民间对西王母肩部羽饰的描绘，被视为云肩的雏形。
云肩图像最早出现在敦煌隋代的壁画中，从壁画中可见贵族妇女已经在使用云肩，观音菩萨的佛像也身披云肩。
“云肩”一词的正式出现始于金代，而元代则是云肩形制固定的关键时期。《元史·舆服志》记载：“云肩，制如四垂云，青缘，黄罗五色，嵌金为之。”这段描述勾勒出元代云肩的基本面貌——以四片垂云形结构环绕肩部，色彩斑斓，工艺考究。元代云肩主要为宫廷舞女乐妓在节日时穿用，尚未普及至民间。
明代，云肩从宫廷走向民间。朝廷命妇将其作为礼服装饰，通常搭配金珠翡翠、玉坠等贵重饰品来彰显其尊贵身份；明朝中后期，民间妇女也开始将其作为礼服的装饰，云肩开始广泛流传于民间。
清代是云肩发展的鼎盛时期。它是汉族婚礼的必备服饰，普及至社会各阶层，儿童服饰上也使用颇多。据《清稗类钞·服饰》记载，云肩的形制按大小可分为三等：最华丽的一款称为“宫装”，通常用来当作礼服配饰；次者称“云肩”；小者称“阁鬓”。叶梦珠在《阅世编》中更详细描述了宫装的形制：“裁白绫为云样，披及两肩，胸背刺绣花鸟，缀以金珠、宝石、钟玲，令行动有声”，可见其奢华程度。
民国以后，随着西方服饰文化的渗透，云肩逐渐退出日常服饰体系，主要作为传统戏曲中的女性行头而保留下来。这一变化既是服饰西化的结果，也标志着传统服饰体系的结构性转型。
三、形制
云肩的造型以颈部为中心呈放射状或旋转对称分布，总体遵循对称均衡的形式法则。按其结构层次，可分为单片式、层叠式、混合式与连缀式。常见的形制有以下几种：
1. 四合如意式
这是最常见的云肩样式之一。四个云头分别向四个方向展开，形成“四合”，寓意四方如意、事事顺遂。整体造型简洁大方，线条流畅，给人以端庄稳重之感。
2. 柳叶式
形状似柳叶，细长而优美。通常以多层柳叶状的绣片叠加而成，边缘多装饰有精美的刺绣花纹，如花卉、藤蔓等，显得灵动飘逸，象征着春色满园，生命长青。
3. 团花式
以圆形的团花为中心，周围环绕着多层绣片。团花的图案丰富多样，有牡丹、莲花、梅花等各种花卉，象征着富贵、高洁、坚韧等不同的品质。
4. 寿桃式
造型类似寿桃，寓意长寿、健康。这种云肩通常会绣上寿桃、仙鹤、松柏等与长寿相关的图案，色彩较为淡雅，给人以祥和之感。
四、纹样与寓意
云肩的装饰遵循“云肩必有饰，有饰必有文，有文必含吉祥意”的法则。云肩纹样的题材包括花鸟虫鱼、飞禽走兽、戏曲故事、神话传说等。花卉植物纹样中，牡丹象征富贵，荷花代表高洁及连生贵子，石榴则象征多子多福。珍禽瑞兽纹样中，鹿谐音“禄”寓意官禄，蝙蝠谐音“福”寓意福气。人物故事纹样如“麒麟送子”传达求子的美好愿望。文字与组合纹样如“寿”字纹代表万寿无疆。这些纹样不仅是审美对象，更是特定文化观念的视觉载体。
色彩方面，云肩深受中国传统“五行五色”学说的影响，以黑、赤、白、青、黄五色为主，其他颜色为辅，构成了丰富的视觉层次。
五、制作工艺
云肩的制作工艺精细复杂，包括设计、裁剪、缝合、刺绣及成品整理等多个环节，每一步都需精心操作以呈现优美曲线和丰富图案。
1.设计与选材
云肩制作的第一步是设计，设计者需考虑云肩的大小、形状、质感和颜色，并与整体服饰搭配，使其端庄美观。常用面料包括丝绸、绫布、棉布等，面布需光泽柔软，里布透气舒适，装饰部分可选绸缎、珠片、流苏等。刺绣线材需与面料色彩协调，确保整体美观。
2.裁剪与缝合
裁剪时需先在纸上绘制云肩形状，再按形状裁剪面料，注意方向和大小，以保证缝合时匹配。缝合过程中，面料需对接缝合，保持平整，使用大针距可形成流畅曲线。翻边是关键步骤，缝制完成后需将云肩翻面，使轮廓更加立体。
3.刺绣工艺
云肩刺绣技法丰富，包括挽针、接针、滚针、松针、钉线、打子、圈金、抢针、齐针等。图案多样，涵盖神仙、花鸟鱼虫、人物、山水及吉祥符号，通过不同元素寄寓吉祥寓意。刺绣过程中可采用堆绫绣法，通过层次堆叠增强立体感。
4.成品整理与保养
制作完成后，云肩需悬挂一段时间，使形态柔和饱满。成品整理包括修剪线头、整烫平整、清洁表面灰尘，并注意防晒和存放在干燥通风处，以防褪色和霉变。
六、文化意蕴
1.仿生思维与天人合一
云肩的造型本身即体现了一种仿生主义的设计思维。从云朵的自然形态中获得灵感，将流动变幻的云霞凝固为肩头的装饰，这一过程本身就蕴含着“师法自然”的造物智慧。云肩以云为名、以云为形，暗合了中国传统文化中“天人合一”的哲学观念——将自然意象穿戴于身，体现了人对自然的敬慕与亲近。
2.民俗心理与吉祥文化
云肩的纹饰系统是民间吉祥文化的集中呈现。“图必有意，意必吉祥”的装饰逻辑背后，是农耕社会对多子、财富、长寿、平安的普遍向往。这些寓意可归纳为“富、贵、寿、喜”四个维度，反映了特定社会结构下民众的情感诉求与价值取向。云肩上的每一处纹样——无论是四合如意的形制本身，还是暗八仙、花蝶、蝙蝠等具体图案——都是这一文化心理的外化。
3.礼制秩序与身份标识
云肩的使用还具有明确的等级意涵。明清时期，云肩的材质、纹饰、大小与使用者身份密切相关。宫装缀金珠宝石，为贵族礼服；民间云肩虽亦精美，但规制有别。这种差异使云肩成为身份标识的载体，体现了服饰在社会分层中的符号功能。同时，云肩作为婚嫁礼服的组成部分，也参与了传统礼俗秩序的建构。
七、现代转化
近年来，云肩正经历从“传统服饰配件”到“文化创意资源”的转型。当下，云肩以全新的姿态融入生活，成为一种新时尚。设计师们结合现代审美观念和技术手段，巧妙地将云肩元素融入现代服装，或者以云肩为灵感进行简约化、符号化的再创造，使其成为“新中式”风格的重要元素。
随着文化自信持续增强，越来越多的年轻人热衷于将传统文化穿戴在身上。一些高校将云肩引入学位服设计，并融入美好寓意，在学位帽上增加簪花点缀，形成别具一格的新中式穿搭。借助云肩在肩部塑造的挺括造型，学位服的庄重感被很好地传递出来。同时，这种庄重感因云肩的外形和寓意而显得柔和圆润，充满儒雅之美。

术语
云肩 Cloud Shoulder
披肩 Shawl
搭肩 Shoulder Strap / Shoulder Cover
披帛 Pashmina / Long Scarf
帔子 Cape / Short Wrap
四合如意式 Sihe Ruyi Style (Four-in-One Ruyi Shape)
柳叶式 Willow Leaf Style
团花式 Round Flower / Tuanhua Style
寿桃式 Longevity Peach Style
宫装 Palace Dress / Ceremonial Robe
阁鬓 Gebin (Small Cloud Shoulder)
五行五色 Five Elements and Five Colors Theory
暗八仙 Eight Immortals (Hidden/Eight Emblems)
麒麟送子 Qilin Delivering Children
堆绫绣 Appliqué Embroidery / Stacked Silk Embroidery
挽针/接针/滚针等 Various Embroidery Stitches (Twisting, Joining, Rolling, etc.)
新中式 New Chinese Style / Neo-Chinese Style
学位服 Academic Gown / Graduation Robe

问题
1.“云肩”这个名字的起源是什么？
2.云肩最初的功能是什么？之后发生了哪些变化？
3.云肩近年来经历了怎样的转变？
4.明清时期，哪些因素与云肩的材质、装饰和大小密切相关？这在服装上体现了什么功能？
5.成品准备包括哪些步骤？维护期间应注意哪些事项？

File:Xiang Jiaying Milk Tea 2026.pptx

2026-04-15T13:59:21Z

Xiang Jiaying:

Overview on Chinese Culture Spring 2026

2026-04-15T13:58:48Z

Xiang Jiaying: /* Session 7 — Apr 16 */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

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==How to Upload Your PowerPoint / 如何上传PPT==
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==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]
=Break with Majiang Play=
I am presenting Majiang [[Media:02_Majiang_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cài Lányǐng (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cáo Héfēng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cáo Shīqín (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chén Shuānglín (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cuī Xīnyàn (崔心彦): Traditional Chinese Dance 98
* Dínà (迪娜·代买克): Panda-Kultur 80
* Hǎo Yuán (郝圆): Calendar, The 24 Solar Terms 88
* Mǎ Qīng (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上)=
* Gāo Yáng (高扬): Erhu 91
* Huáng Zǐyuè (黄梓玥): Spring Festival Couplets 80
* Hú Xīnyǐn (胡馨尹): Mahjong 92 [[Media:Hu Xinyin_Mahjong_2026.pptx]]
* Huáng Rúguǒ (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Wáng Péigèn (王培亘): The Classic of Mountains and Seas（山海经）
* Lǐ Sīchéng (李思成): The Four Pillars of Destiny（八字）
* Péng Yìlín (彭熠琳): Tea
* Qín Shàngyì (秦尚易): Mobile Games（手游）

=Session 7 — Apr 16=
* Shēn Yìkē (申奕珂): Stand-up comedy（单口喜剧）
* Wǔ Shèngqiú (伍胜球): Hunan Rice Noodles（湖南米粉）
* Xiàng Jiāyíng (向佳滢): Milk Tea[[Media:Xiang Jiaying_Milk Tea_2026.pptx]]

=Session 8 — Apr 23=
* Yáng Shīxuān (杨诗萱): Jiangxi Cuisine（赣菜）
* Zēng Yǒngqí (曾咏琪): Zhang Qian and the Silk Road
* Zhāng Níng (张宁): Chinese Clothing
* Zhāng Zǐhán (张子涵): Calligraphy

=Session 9 — Apr 27 (Sun 8:00, Room 601 / 4月30日14:30的课改为4月27日（周日）8:00 601教室上)=
* Zhōu Yǐngwēi (周颖微): Cheongsam

=Session 10 — May 07 — Student Presentations (Round 2)=
* Cáo Héfēng (曹河丰): Chinese Dreamcore（中式梦核）
* Cáo Shīqín (曹诗琴): God of Wealth（财神）
* Cáo Yì'ān (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

=Session 11 — May 14=
* Dínà (迪娜·代买克): China's Four Great Classical Novels
* Hǎo Yuán (郝圆): Luosifen

=Session 12 — May 21=
* Huáng Rúguǒ (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Hú Xīnyǐn (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

=Session 13 — May 28=
* Péng Yìlín (彭熠琳): Peking Opera
* Qín Shàngyì (秦尚易): Danmu（弹幕）

=Session 14 — Jun 04=
* Shēn Yìkē (申奕珂): Traditional Chinese Pigments（中国传统颜料）
* Wǔ Shèngqiú (伍胜球): Black Myth: Wukong（黑神话悟空）
* Xiàng Jiāyíng (向佳滢): Table Manners

=Session 15 — Jun 11=
* Yáng Shīxuān (杨诗萱): The Yingge Dance（英歌舞）
* Zēng Yǒngqí (曾咏琪): Eight Major Cuisines of China
* Zhāng Níng (张宁): The Four Talented Women of Ancient China
* Zhāng Zǐhán (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 — Final Session=
* Zhōu Yǐngwēi (周颖微): Facial Make-up

==Topics Selected But Not Yet Scheduled==
* Cài Lányǐng (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Cáo Yì'ān (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Chén Shuānglín (陈双麟): Wushu
* Cuī Xīnyàn (崔心彦): Guangdong Herbal tea（广东凉茶）
* Gāo Yáng (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Huáng Zǐyuè (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Lǐ Sīchéng (李思成): Sunzi's Art of War（孙子兵法）
* Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Lin Gang (林港): Science Fiction and Fantasy
* Ma Qing (马晴): Shandong cuisine（鲁菜）
* Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
* Shen Weibing (申伟兵): Chinese Imperial Examination
* Shen Weibing (申伟兵): Modern Chinese Education
* Wáng Péigèn (王培亘): Blind Box（盲盒）
* Wáng Péigèn (王培亘): The Classic of Mountains and Seas
* Wu Wanghui (吴旺辉): Gods and Immortals
* Wu Wanghui (吴旺辉): The Four Treasures of the Study

==Students Still Selecting Topics==
* '''Li Fangfei (黎芳菲)''' — please select 2 topics
* '''Zhu Shuwen (朱树文)''' — please select 2 topics

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

<div style="background: #fff3cd; border: 1px solid #ffc107; padding: 12px; border-radius: 4px; margin: 1em 0;">
'''Source Verification Requirement / 参考文献验证要求:'''

All sources used for your paper — whether academic articles, books, or websites — must be submitted as PDF files via email to martin@woesler.de. This applies to every source listed in your references.

所有用于撰写论文的参考资料——无论是学术论文、书籍还是网页——均须以PDF文件形式发送至 martin@woesler.de。每一条参考文献均需提供对应的PDF。

* PDFs under 10 MB: send directly as email attachment / 10MB以下的PDF：直接作为邮件附件发送
* PDFs over 10 MB: do '''not''' send by email — instead, provide a download link (e.g. cloud storage link) / 超过10MB的PDF：'''请勿'''通过邮件发送，请提供下载链接（如网盘链接）
</div>

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

Overview on Chinese Culture Spring 2026

2026-04-15T13:51:36Z

Xiang Jiaying: /* Session 7 — Apr 16 */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]
=Break with Majiang Play=
I am presenting Majiang [[Media:02_Majiang_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cài Lányǐng (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cáo Héfēng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cáo Shīqín (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chén Shuānglín (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cuī Xīnyàn (崔心彦): Traditional Chinese Dance 98
* Dínà (迪娜·代买克): Panda-Kultur 80
* Hǎo Yuán (郝圆): Calendar, The 24 Solar Terms 88
* Mǎ Qīng (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上)=
* Gāo Yáng (高扬): Erhu 91
* Huáng Zǐyuè (黄梓玥): Spring Festival Couplets 80
* Hú Xīnyǐn (胡馨尹): Mahjong 92 [[Media:Hu Xinyin_Mahjong_2026.pptx]]
* Huáng Rúguǒ (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Wáng Péigèn (王培亘): The Classic of Mountains and Seas（山海经）
* Lǐ Sīchéng (李思成): The Four Pillars of Destiny（八字）
* Péng Yìlín (彭熠琳): Tea
* Qín Shàngyì (秦尚易): Mobile Games（手游）

=Session 7 — Apr 16=
* Shēn Yìkē (申奕珂): Stand-up comedy（单口喜剧）
* Wǔ Shèngqiú (伍胜球): Hunan Rice Noodles（湖南米粉）
* Xiàng Jiāyíng (向佳滢): Milk Tea

=Session 8 — Apr 23=
* Yáng Shīxuān (杨诗萱): Jiangxi Cuisine（赣菜）
* Zēng Yǒngqí (曾咏琪): Zhang Qian and the Silk Road
* Zhāng Níng (张宁): Chinese Clothing
* Zhāng Zǐhán (张子涵): Calligraphy

=Session 9 — Apr 27 (Sun 8:00, Room 601 / 4月30日14:30的课改为4月27日（周日）8:00 601教室上)=
* Zhōu Yǐngwēi (周颖微): Cheongsam

=Session 10 — May 07 — Student Presentations (Round 2)=
* Cáo Héfēng (曹河丰): Chinese Dreamcore（中式梦核）
* Cáo Shīqín (曹诗琴): God of Wealth（财神）
* Cáo Yì'ān (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

=Session 11 — May 14=
* Dínà (迪娜·代买克): China's Four Great Classical Novels
* Hǎo Yuán (郝圆): Luosifen

=Session 12 — May 21=
* Huáng Rúguǒ (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Hú Xīnyǐn (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

=Session 13 — May 28=
* Péng Yìlín (彭熠琳): Peking Opera
* Qín Shàngyì (秦尚易): Danmu（弹幕）

=Session 14 — Jun 04=
* Shēn Yìkē (申奕珂): Traditional Chinese Pigments（中国传统颜料）
* Wǔ Shèngqiú (伍胜球): Black Myth: Wukong（黑神话悟空）
* Xiàng Jiāyíng (向佳滢): Table Manners

=Session 15 — Jun 11=
* Yáng Shīxuān (杨诗萱): The Yingge Dance（英歌舞）
* Zēng Yǒngqí (曾咏琪): Eight Major Cuisines of China
* Zhāng Níng (张宁): The Four Talented Women of Ancient China
* Zhāng Zǐhán (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 — Final Session=
* Zhōu Yǐngwēi (周颖微): Facial Make-up

==Topics Selected But Not Yet Scheduled==
* Cài Lányǐng (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Cáo Yì'ān (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Chén Shuānglín (陈双麟): Wushu
* Cuī Xīnyàn (崔心彦): Guangdong Herbal tea（广东凉茶）
* Gāo Yáng (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Huáng Zǐyuè (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Lǐ Sīchéng (李思成): Sunzi's Art of War（孙子兵法）
* Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Lin Gang (林港): Science Fiction and Fantasy
* Ma Qing (马晴): Shandong cuisine（鲁菜）
* Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
* Shen Weibing (申伟兵): Chinese Imperial Examination
* Shen Weibing (申伟兵): Modern Chinese Education
* Wáng Péigèn (王培亘): Blind Box（盲盒）
* Wáng Péigèn (王培亘): The Classic of Mountains and Seas
* Wu Wanghui (吴旺辉): Gods and Immortals
* Wu Wanghui (吴旺辉): The Four Treasures of the Study

==Students Still Selecting Topics==
* '''Li Fangfei (黎芳菲)''' — please select 2 topics
* '''Zhu Shuwen (朱树文)''' — please select 2 topics

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

<div style="background: #fff3cd; border: 1px solid #ffc107; padding: 12px; border-radius: 4px; margin: 1em 0;">
'''Source Verification Requirement / 参考文献验证要求:'''

All sources used for your paper — whether academic articles, books, or websites — must be submitted as PDF files via email to martin@woesler.de. This applies to every source listed in your references.

所有用于撰写论文的参考资料——无论是学术论文、书籍还是网页——均须以PDF文件形式发送至 martin@woesler.de。每一条参考文献均需提供对应的PDF。

* PDFs under 10 MB: send directly as email attachment / 10MB以下的PDF：直接作为邮件附件发送
* PDFs over 10 MB: do '''not''' send by email — instead, provide a download link (e.g. cloud storage link) / 超过10MB的PDF：'''请勿'''通过邮件发送，请提供下载链接（如网盘链接）
</div>

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

Overview on Chinese Culture Spring 2026

2026-04-15T13:49:44Z

Xiang Jiaying: /* Session 7 — Apr 16 */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]
=Break with Majiang Play=
I am presenting Majiang [[Media:02_Majiang_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cài Lányǐng (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cáo Héfēng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cáo Shīqín (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chén Shuānglín (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cuī Xīnyàn (崔心彦): Traditional Chinese Dance 98
* Dínà (迪娜·代买克): Panda-Kultur 80
* Hǎo Yuán (郝圆): Calendar, The 24 Solar Terms 88
* Mǎ Qīng (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上)=
* Gāo Yáng (高扬): Erhu 91
* Huáng Zǐyuè (黄梓玥): Spring Festival Couplets 80
* Hú Xīnyǐn (胡馨尹): Mahjong 92 [[Media:Hu Xinyin_Mahjong_2026.pptx]]
* Huáng Rúguǒ (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Wáng Péigèn (王培亘): The Classic of Mountains and Seas（山海经）
* Lǐ Sīchéng (李思成): The Four Pillars of Destiny（八字）
* Péng Yìlín (彭熠琳): Tea
* Qín Shàngyì (秦尚易): Mobile Games（手游）

=Session 7 — Apr 16=
* Shēn Yìkē (申奕珂): Stand-up comedy（单口喜剧）
* Wǔ Shèngqiú (伍胜球): Hunan Rice Noodles（湖南米粉）
* Xiàng Jiāyíng (向佳滢): Milk Tea Media:Xiang Jiaying_Milk Tea_2026.pptx

=Session 8 — Apr 23=
* Yáng Shīxuān (杨诗萱): Jiangxi Cuisine（赣菜）
* Zēng Yǒngqí (曾咏琪): Zhang Qian and the Silk Road
* Zhāng Níng (张宁): Chinese Clothing
* Zhāng Zǐhán (张子涵): Calligraphy

=Session 9 — Apr 27 (Sun 8:00, Room 601 / 4月30日14:30的课改为4月27日（周日）8:00 601教室上)=
* Zhōu Yǐngwēi (周颖微): Cheongsam

=Session 10 — May 07 — Student Presentations (Round 2)=
* Cáo Héfēng (曹河丰): Chinese Dreamcore（中式梦核）
* Cáo Shīqín (曹诗琴): God of Wealth（财神）
* Cáo Yì'ān (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

=Session 11 — May 14=
* Dínà (迪娜·代买克): China's Four Great Classical Novels
* Hǎo Yuán (郝圆): Luosifen

=Session 12 — May 21=
* Huáng Rúguǒ (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Hú Xīnyǐn (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

=Session 13 — May 28=
* Péng Yìlín (彭熠琳): Peking Opera
* Qín Shàngyì (秦尚易): Danmu（弹幕）

=Session 14 — Jun 04=
* Shēn Yìkē (申奕珂): Traditional Chinese Pigments（中国传统颜料）
* Wǔ Shèngqiú (伍胜球): Black Myth: Wukong（黑神话悟空）
* Xiàng Jiāyíng (向佳滢): Table Manners

=Session 15 — Jun 11=
* Yáng Shīxuān (杨诗萱): The Yingge Dance（英歌舞）
* Zēng Yǒngqí (曾咏琪): Eight Major Cuisines of China
* Zhāng Níng (张宁): The Four Talented Women of Ancient China
* Zhāng Zǐhán (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 — Final Session=
* Zhōu Yǐngwēi (周颖微): Facial Make-up

==Topics Selected But Not Yet Scheduled==
* Cài Lányǐng (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Cáo Yì'ān (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Chén Shuānglín (陈双麟): Wushu
* Cuī Xīnyàn (崔心彦): Guangdong Herbal tea（广东凉茶）
* Gāo Yáng (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Huáng Zǐyuè (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Lǐ Sīchéng (李思成): Sunzi's Art of War（孙子兵法）
* Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Lin Gang (林港): Science Fiction and Fantasy
* Ma Qing (马晴): Shandong cuisine（鲁菜）
* Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
* Shen Weibing (申伟兵): Chinese Imperial Examination
* Shen Weibing (申伟兵): Modern Chinese Education
* Wáng Péigèn (王培亘): Blind Box（盲盒）
* Wáng Péigèn (王培亘): The Classic of Mountains and Seas
* Wu Wanghui (吴旺辉): Gods and Immortals
* Wu Wanghui (吴旺辉): The Four Treasures of the Study

==Students Still Selecting Topics==
* '''Li Fangfei (黎芳菲)''' — please select 2 topics
* '''Zhu Shuwen (朱树文)''' — please select 2 topics

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

<div style="background: #fff3cd; border: 1px solid #ffc107; padding: 12px; border-radius: 4px; margin: 1em 0;">
'''Source Verification Requirement / 参考文献验证要求:'''

All sources used for your paper — whether academic articles, books, or websites — must be submitted as PDF files via email to martin@woesler.de. This applies to every source listed in your references.

所有用于撰写论文的参考资料——无论是学术论文、书籍还是网页——均须以PDF文件形式发送至 martin@woesler.de。每一条参考文献均需提供对应的PDF。

* PDFs under 10 MB: send directly as email attachment / 10MB以下的PDF：直接作为邮件附件发送
* PDFs over 10 MB: do '''not''' send by email — instead, provide a download link (e.g. cloud storage link) / 超过10MB的PDF：'''请勿'''通过邮件发送，请提供下载链接（如网盘链接）
</div>

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。

Overview on Chinese Culture Spring 2026

2026-04-15T13:47:55Z

Xiang Jiaying: /* Session 7 — Apr 16 */

'''Overview on Chinese Culture 中國文化概要 (Spring Semester 2026)'''

Course Code: 09230030.01 | Credits: 3 | Level: BA24

'''Instructor:''' Prof. Martin Woesler | '''Schedule:''' Wednesday 16:30-18:10 | '''Room:''' Tenglong 409

'''Course Website:''' [https://dcg.de/ai/uni/intro_chinese_culture.php Interactive course page] (topic selection, PPT upload, quizzes)

'''Grading:''' Regular performance 平时成绩 (30%) + Final paper 期末论文 (70%)

==Grading Criteria for Powerpoint Presentations==
#Each presentation should not exceed 15 minutes including the interactive part with fellow students.
#Was the presentation based on scientific facts, with the presenter's own research, experience and opinion clearly marked as factual/subjective?
#Was the presentation successful? Did it catch the audience's attention?
#Formal aspects: loud/clear speaker, self-confident, speaking freely, meaningful slides (not text deserts)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate?
#Was the time well managed (not too short, not too long)?
#Did the presentation compare the cultural phenomenon in China and in other countries?
#Did the presentation avoid boring reading, pronunciation mistakes, typos?
#Did you list your sources on the last slide?
#Did you upload your PPT file (max 5MB, compress images first)?
#Did you present in full screen mode?
#Did you arrive early to test your file on the classroom computer?
#Did the presentation avoid plagiarism, undisclosed AI use, ideology, patriotism, politics, religious beliefs, advertisement, ignorance, racism, prejudices, lies, or false rumors?

==How to Upload Your PowerPoint / 如何上传PPT==
# Log in at [https://dcg.de/ai/uni/intro_chinese_culture.php the course page], click your topic, select file, click "Upload PPT"
# Or on this Wiki: log in, click "Edit", add <code><nowiki>[[Media:YourName_Topic_2026.pptx]]</nowiki></code> next to your topic, save, then click the red link to upload
'''Important:''' Compress to under 5MB first! (PowerPoint: File → Compress Pictures → 150 dpi)

==Session Schedule==

=Session 1 — Mar 05 — Organizational Issues=
* Course overview, topic selection, final paper guidelines

=Session 2 — Mar 12 — Teacher Introduction=
* Teacher presentation: Introduction to Chinese Culture [[Media:02_Culture_Spring_2026.pptx]]
=Break with Majiang Play=
I am presenting Majiang [[Media:02_Majiang_Spring_2026.pptx]]

=Session 3 — Mar 19 — Student Presentations (Round 1)=
* Cài Lányǐng (蔡蓝颖): Northeastern Chinese Cuisine（东北菜） — '''82'''
* Cáo Héfēng (曹河丰): Relegation Literature (Su Shi) — '''86'''
* Cáo Shīqín (曹诗琴): 财神 God of Wealth — '''88'''
* <s>Chén Shuānglín (陈双麟): Chinese Ancient Weapons</s> ''(moved to later session)''

=Session 4 — Mar 26=
* Cuī Xīnyàn (崔心彦): Traditional Chinese Dance 98
* Dínà (迪娜·代买克): Panda-Kultur 80
* Hǎo Yuán (郝圆): Calendar, The 24 Solar Terms 88
* Mǎ Qīng (马清): Tsingtao Beer（青岛啤酒）89

=Session 5 — Mar 30 (Mon 8:00, Room 601 / 4月2日14:30的课改为3月30日（周一）8:00 601教室上)=
* Gāo Yáng (高扬): Erhu 91
* Huáng Zǐyuè (黄梓玥): Spring Festival Couplets 80
* Hú Xīnyǐn (胡馨尹): Mahjong 92 [[Media:Hu Xinyin_Mahjong_2026.pptx]]
* Huáng Rúguǒ (黄如果): Hotpot 83

=Session 6 — Apr 09=
* Wáng Péigèn (王培亘): The Classic of Mountains and Seas（山海经）
* Lǐ Sīchéng (李思成): The Four Pillars of Destiny（八字）
* Péng Yìlín (彭熠琳): Tea
* Qín Shàngyì (秦尚易): Mobile Games（手游）

=Session 7 — Apr 16=
* Shēn Yìkē (申奕珂): Stand-up comedy（单口喜剧）
* Wǔ Shèngqiú (伍胜球): Hunan Rice Noodles（湖南米粉）
* Xiàng Jiāyíng (向佳滢): Milk Tea[Media:Xiang Jiaying_Milk Tea_2026.pptx]

=Session 8 — Apr 23=
* Yáng Shīxuān (杨诗萱): Jiangxi Cuisine（赣菜）
* Zēng Yǒngqí (曾咏琪): Zhang Qian and the Silk Road
* Zhāng Níng (张宁): Chinese Clothing
* Zhāng Zǐhán (张子涵): Calligraphy

=Session 9 — Apr 27 (Sun 8:00, Room 601 / 4月30日14:30的课改为4月27日（周日）8:00 601教室上)=
* Zhōu Yǐngwēi (周颖微): Cheongsam

=Session 10 — May 07 — Student Presentations (Round 2)=
* Cáo Héfēng (曹河丰): Chinese Dreamcore（中式梦核）
* Cáo Shīqín (曹诗琴): God of Wealth（财神）
* Cáo Yì'ān (曹亦桉): Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua

=Session 11 — May 14=
* Dínà (迪娜·代买克): China's Four Great Classical Novels
* Hǎo Yuán (郝圆): Luosifen

=Session 12 — May 21=
* Huáng Rúguǒ (黄如果): Guangdong Morning Tea Culture（广东早茶文化）
* Hú Xīnyǐn (胡馨尹): The Story of Ming Lan（知否知否应是绿肥红瘦）

=Session 13 — May 28=
* Péng Yìlín (彭熠琳): Peking Opera
* Qín Shàngyì (秦尚易): Danmu（弹幕）

=Session 14 — Jun 04=
* Shēn Yìkē (申奕珂): Traditional Chinese Pigments（中国传统颜料）
* Wǔ Shèngqiú (伍胜球): Black Myth: Wukong（黑神话悟空）
* Xiàng Jiāyíng (向佳滢): Table Manners

=Session 15 — Jun 11=
* Yáng Shīxuān (杨诗萱): The Yingge Dance（英歌舞）
* Zēng Yǒngqí (曾咏琪): Eight Major Cuisines of China
* Zhāng Níng (张宁): The Four Talented Women of Ancient China
* Zhāng Zǐhán (张子涵): The Legend of Zhen Huan（甄嬛传）

=Session 16 — Jun 18 — Final Session=
* Zhōu Yǐngwēi (周颖微): Facial Make-up

==Topics Selected But Not Yet Scheduled==
* Cài Lányǐng (蔡蓝颖): Harbin Ice and Snow World（冰雪大世界）
* Cáo Yì'ān (曹亦桉): Chinese popular viral memes（中国网络热梗）
* Chén Shuānglín (陈双麟): Wushu
* Cuī Xīnyàn (崔心彦): Guangdong Herbal tea（广东凉茶）
* Gāo Yáng (高扬): Redology: the study of Dream of the Red Chamber（红学）
* Huáng Zǐyuè (黄梓玥): Braised Chicken Rice（黄焖鸡米饭）
* Lǐ Sīchéng (李思成): Sunzi's Art of War（孙子兵法）
* Lin Gang (林港): Culture-Loaded Words in Black Myth: Wukong（黑神话：悟空中的文化词）
* Lin Gang (林港): Science Fiction and Fantasy
* Ma Qing (马晴): Shandong cuisine（鲁菜）
* Ma Qing (马晴): Tsingtao Beer（青岛啤酒）
* Shen Weibing (申伟兵): Chinese Imperial Examination
* Shen Weibing (申伟兵): Modern Chinese Education
* Wáng Péigèn (王培亘): Blind Box（盲盒）
* Wáng Péigèn (王培亘): The Classic of Mountains and Seas
* Wu Wanghui (吴旺辉): Gods and Immortals
* Wu Wanghui (吴旺辉): The Four Treasures of the Study

==Students Still Selecting Topics==
* '''Li Fangfei (黎芳菲)''' — please select 2 topics
* '''Zhu Shuwen (朱树文)''' — please select 2 topics

=Semester Paper Topics=

Each student writes one semester paper (~3000 words). You need to find a topic which has not yet been written by any student before (see textbook) and which needs to be approved by the teacher. It should look exactly the same as a chapter in the textbook in both English and Chinese. AI-content for the final exam paper less than 15%.

<div style="background: #fff3cd; border: 1px solid #ffc107; padding: 12px; border-radius: 4px; margin: 1em 0;">
'''Source Verification Requirement / 参考文献验证要求:'''

All sources used for your paper — whether academic articles, books, or websites — must be submitted as PDF files via email to martin@woesler.de. This applies to every source listed in your references.

所有用于撰写论文的参考资料——无论是学术论文、书籍还是网页——均须以PDF文件形式发送至 martin@woesler.de。每一条参考文献均需提供对应的PDF。

* PDFs under 10 MB: send directly as email attachment / 10MB以下的PDF：直接作为邮件附件发送
* PDFs over 10 MB: do '''not''' send by email — instead, provide a download link (e.g. cloud storage link) / 超过10MB的PDF：'''请勿'''通过邮件发送，请提供下载链接（如网盘链接）
</div>

----

==期末论文==
===Korean Janggu Dance===

◦ ====Origin and Development====
The origin of the Janggu Dance can be traced back to the narrow-waisted drum from India. Around the 4th century AD, this musical instrument was introduced to the Central Plains of China via the Silk Road. During the Sui and Tang dynasties, it was adopted in the Nine and Ten Grand Drum Dances, and the Goryeo Music of the Korean ethnic group was included in the renowned Ten Great Musical Forms. After the Song Dynasty, the zhanggu (a type of narrow-waisted drum) gradually disappeared in the Central Plains of China but continued to be passed down among the Korean people, and was renamed the Janggu. In the Ming and Qing dynasties, some Koreans migrated from the Korean Peninsula to China, bringing the Janggu Dance with them. After a long period of development, it gradually evolved into the Korean Janggu Dance with distinct Chinese characteristics. In the early 20th century, the Janggu Dance separated from the Nongak Dance (farmers’ music dance) as an independent performance form. The Korean people perform this dance at every festival and celebration. In the 1950s, Korean dancers carefully adapted the Janggu Dance, which was staged for the first time, thus expanding its influence. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Introduction====
The Korean Janggu Dance is a highly representative traditional dance of the Korean ethnic group, mainly popular in Yanbian Korean Autonomous Prefecture of Jilin Province and other Korean inhabited areas. In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
It has a history of over a thousand years. The prototype of its core prop, the Janggu, is the narrow-waisted drum originating from India. In the 4th century AD, this instrument was introduced to the Central Plains of China through the Silk Road and incorporated into the imperial court music and dance system during the Sui and Tang dynasties. In the Korean Goryeo Music, it was known as the “dutanggu” and “maoyuanggu”, etc. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)
During the Song and Yuan dynasties, this type of narrow-waisted drum spread eastward to the Korean Peninsula, gradually evolving into the Janggu that meets the aesthetic and performance needs of the Korean ethnic group, and became an accompanying instrument for the Korean Nongak Dance. (China National Cultural Resource Network, Janggu Dance)
In the Ming and Qing dynasties, with the migration of some Korean people to China, the Janggu Dance was introduced as well. It gradually integrated with the production, life, and folk culture of the Chinese Korean ethnic group, forming a dance form with distinct Chinese local characteristics. This dance is a combination of playing, singing, and dancing. The core prop, the Janggu, has a unique shape with thick two ends and a thin middle, and the two drumheads produce different pitches. The dancer slings the Janggu over the shoulder, holds a drumstick in the right hand to strike the drum, and uses the left hand to pat the drumhead, creating rich and varied rhythms. ( China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)
The Janggu can produce staggered high and low tones. The dancer slings the drum over the shoulder, strikes it with a drumstick in the right hand, and pats the drumhead with fingers of the left hand, creating a variety of rich rhythms. The performance style is divided into two categories: the soft-style Janggu dance and the vigorous-style Janggu dance. The soft-style Janggu dance features gentle and stretching movements, mostly expressing lyrical artistic conception; the vigorous-style Janggu dance has bold and powerful movements, often incorporating elements of labor scenes such as rice transplanting and harvesting. The performance forms include solo dance, duet dance, and group dance. The rhythm of the dance generally starts slow and gradually speeds up; during the climax, the dancer performs skillful movements such as continuous spinning, and ends abruptly, which is highly artistically appealing. The accompanying instruments include suona horn, bamboo flute, gayageum, etc., often paired with classic Korean folk songs such as Arirang. The dance movements are characterized by shoulder-raising, shoulder-stretching, and magpie steps, with various dance steps including crane steps and shuffle steps, fully demonstrating the unique charm of Korean dance. Today, through the construction of intangible cultural heritage inheritance bases, the popularization of campus teaching, and domestic and international cultural exchange performances, the Janggu Dance continues to thrive and has become an important artistic symbol showcasing the cultural charm of the Korean ethnic group. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Dance Characteristics====
Performance Forms: The Janggu Dance boasts diverse performance forms, including solo dance, duet dance, and group dance. The female version of the dance is elegant in style, while the male version is lively and unrestrained. The large Janggu dance is usually led by one dancer with the rest following; the small Janggu dance is often performed by 2 to 4 people playing drums and dancing against each other during festivals and holidays.
Movement Characteristics: The dance mainly features hand movements with various forms, which can be summarized into four characteristics: twisting, springing, squatting, and steadying. Dancers strike the drum while dancing in accordance with fixed drumbeat rhythms, emphasizing the coordination between movements and the unity of rhythm, and using the drum to create various shapes. The dance steps are characterized by “dodging, turning, spinning and leaping” and “squatting, soaring, standing and jumping”. When transitioning between movements such as “bowing the waist” and “bending the knees”, dancers must pass through with a “twisted torso”. Every dancing posture maintains the feature of “curved body and twisted torso”, combining hardness and softness with agile steps.
Music Accompaniment: The metrical form of Korean folk songs belongs to the triple-beat system. Triple time and compound time such as 6/8, 9/8, 12/8, and 18/8 composed of triple beats occupy an important position in the songs. The Janggu Dance is accompanied by various wind and percussion instruments such as suona horn, bamboo flute, gong and drum, sheng and xiao. The basic drumbeat pattern is “dong-dong, dong, dong-dong, dong”. The tempo and intensity of the drumbeats coordinate with the dance movements, achieving a perfect integration of drum and dance. The dance features a rich variety of tunes, including Arirang, Doraji, and Yangsan Road. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

◦ ====Cultural Value====
From the perspective of artistic and aesthetic value, integrating playing, dancing, and music, the Janggu Dance achieves a high degree of coordination between human, drum, and music. Its dance movements combining hardness and softness with varied drumbeats make it a representative of Korean dance art, enriching the ecology of Chinese folk dance. From the perspective of ethnic cohesion value, as a core performance form in Korean festivals and rituals, its brisk rhythms and stretching movements reflect the ethnic spirit of diligence and optimism, serving as an important bond for maintaining ethnic identity and sense of belonging. Finally, from the perspective of cultural inheritance and exchange value, its development history witnesses cross-regional cultural integration. As a national intangible cultural heritage, it realizes intergenerational inheritance through inheritance bases and campus teaching; meanwhile, it serves as a bridge for cultural exchange between China and foreign countries through domestic and international performances. (China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance)

◦ ====Inheritance and Protection====
Inheritors: A number of outstanding representatives of the Janggu Dance have emerged, such as Jin Douchang, the first-generation inheritor of Janggu Dance skills in China, Park Sung-sup, the fifth-generation inheritor, and Cui Meishan, a first-class dancer. They have made important contributions to the inheritance and development of the Janggu Dance.
Protection Measures: Relevant departments in Jilin Province have increased financial support, established Korean Janggu Dance inheritance bases in Tumen City, Yanji City, Wangqing County, and Qianguoerluosi Mongolian Autonomous County respectively, and organized seminars on the theory and techniques of the Korean Janggu Dance. Yanji City Cultural Center has held training courses on Janggu playing techniques, building a learning and exchange platform for the inheritance and development of the Janggu Dance and cultivating professional talents. (Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance)

===References===
▪ Yanbian Border Villages · Historical and Cultural Digital Exhibition Platform, Intangible Cultural Heritage: Korean Janggu Dance.
▪ China Intangible Cultural Heritage Network · China Intangible Cultural Heritage Digital Museum, Korean Janggu Dance.
▪ China National Cultural Resource Network, Janggu Dance.

===Words and Expressions===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step

===Questions===
1.What is the prototype of the Janggu, the core prop of the Korean Janggu Dance?
2.When was the Korean Janggu Dance included in the National Representative List of Intangible Cultural Heritage of China?
3.What are the two categories of performance styles of the Korean Janggu Dance?
4.Who was the first-generation inheritor of the Korean Janggu Dance skills?
5.What institutions have been established in multiple places of Jilin Province for the inheritance of the Korean Janggu Dance?

===Answers===
1.Originated from the narrow-waisted drum of India.
2.In 2008, the Korean Janggu Dance from Tumen City, Jilin Province was included in the second batch of the National Representative List of Intangible Cultural Heritage of China.
3.It is divided into two categories: the soft-style Janggu Dance and the vigorous-style Janggu Dance. The soft-style Janggu Dance features gentle and stretching movements, while the vigorous-style Janggu Dance has bold and powerful movements.
4.Jin Douchang.
5.Korean Janggu Dance inheritance bases have been established respectively in Tumen City, Yanji City, Wangqing County and Qianguoerluosi Mongolian Autonomous County.
===朝鲜族长鼓舞===

◦ ====朝鲜族长鼓舞的起源发展====
长鼓舞起源可追溯到印度的细腰鼓，大约在公元 4 世纪时，通过丝绸之路传入中国中原地区，隋唐时期在九、十部鼓舞中使用，朝鲜族的《高丽乐》就被列为著名的《十部乐》之一。宋代以后，杖鼓逐渐在中国中原地区消失，只在朝鲜族人民中流传，也改名为长鼓。明清时期，部分朝鲜族人从朝鲜半岛迁到中国，长鼓舞也随之传入，经过长期发展，逐渐形成了具有中国特色的朝鲜族长鼓舞。20 世纪初期，长鼓舞以独立的表演形式从农乐舞里脱离出来，每逢节日庆典，朝鲜族人民都会跳长鼓舞。20 世纪 50 年代，长鼓舞经朝鲜族舞蹈家们的精心改编，第一次登上舞台进行表演，从而扩大了它的影响。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
◦ ====介绍====
朝鲜族长鼓舞是朝鲜族极具代表性的传统舞蹈，主要流传于吉林延边朝鲜族自治州及其他朝鲜族聚居区，2008 年吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它有着上千年的发展历史，其核心道具长鼓的原型为起源于印度的细腰鼓，公元 4 世纪该乐器经丝绸之路传入中国中原地区，隋唐时期被纳入宫廷乐舞体系，在朝鲜族《高丽乐》中被称作“都昙鼓”“毛员鼓”等；（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）
宋元时期，这类细腰鼓东传朝鲜半岛，逐渐演变为契合朝鲜族审美与演奏需求的长鼓，成为朝鲜族农乐舞的伴奏乐器。（中国民族文化资源网《长鼓舞》）
明清时期，随着部分朝鲜族民众迁入中国，长鼓舞也随之传入，逐步与中国朝鲜族的生产生活、民俗文化融合，形成了具有中国本土特色的舞蹈形式；这一舞蹈集演奏、演唱与舞蹈于一体。核心道具长鼓造型两头粗、中间细，两面鼓音高不同，舞者肩挎长鼓，右手持鼓鞭，左手配合拍打鼓面，能敲击出丰富节奏。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆《朝鲜族长鼓舞》）
它能发出高低错落的音色。舞者肩挎长鼓，右手持鼓鞭敲击，左手以手指拍击鼓面，可敲击出丰富多变的节奏。表演风格分文、武两类，文长鼓动作柔和舒展，多展现抒情意境；武长鼓动作粗犷刚劲，常融入插秧、收割等劳动场景元素。表演形式涵盖独舞、双人舞、群舞等，舞蹈节奏多由慢渐快，高潮时舞者会展现连续旋转等技巧性动作，结尾戛然而止，极具艺术感染力。其伴奏乐器包括唢呐、笛子、伽倻琴等，常搭配《阿里郎》等朝鲜族经典曲目，舞蹈动作以扛手、伸肩、鹊雀步为特色，舞步包含鹤步、垫步等多种类型，尽显朝鲜族舞蹈的独特韵味。如今，长鼓舞通过非遗传承基地建设、校园教学普及、国内外文化交流展演等方式，不断焕发新的生机，成为展现朝鲜族文化魅力的重要艺术符号。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ==== 舞蹈特色====
表演形式：长鼓舞表演形式丰富多样，有独舞、双人舞、群舞等多种形式。女性长鼓舞风格优雅，男性长鼓舞活泼潇洒。大长鼓通常为一人领舞，众人随舞；小长鼓通常是在逢年过节时 2-4人对打起舞。
动作特点：主要以手部动作为主，形式变化多样，概括为扭、弹、矮、稳四个方面的特征。舞者按照固定的鼓点节奏边击边舞，讲究动作与动作之间的配合以及节奏的统一，用鼓形成各式各样的造型。舞步以“闪转旋跃”和“蹲腾立跳”为主要特征，“弓腰”与“屈膝” 等舞蹈动作换位时必须“拧身”而过，每个舞姿都保持“曲体拧身”的特点，刚柔并济、步伐灵巧。
音乐伴奏：朝鲜族的民歌节拍形式属于三拍系统，三拍子以及有三拍复合组成的 6/8、9/8、12/8、18/8 等复拍子在歌曲中占据着重要位置。长鼓舞以唢呐、笛子、锣鼓、笙箫等多种管弦乐器作为伴奏，基本鼓点是 “咚咚、咚、咚咚、咚”，长鼓击打的急缓轻重与舞姿相互配合，使鼓与舞完美融合，舞蹈的曲调丰富多彩，有《阿里郎》《道拉基》《阳山道》等曲目。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

◦ ====舞蹈特色====
从艺术审美价值来看，集演奏、舞蹈、音乐于一体，人鼓乐高度协调，刚柔并济的舞姿与多变鼓点结合，是朝鲜族舞蹈艺术的代表，丰富了中国民族民间舞蹈生态。从民族凝聚价值来看，作为朝鲜族节庆、礼俗的核心表演形式，其明快节奏与舒展动作映射民族勤劳豁达的精神内核，是维系族群认同感与归属感的重要纽带。最后从文化传承与交流价值来看，其发展历程见证了跨地域文化交融，作为国家级非遗，通过传承基地、校园教学等实现代际传递；同时借助国内外展演，成为中外文化交流的桥梁。（中国非物质文化遗产网・中国非物质文化遗产数字博物馆。朝鲜族长鼓舞）

◦ ====传承与保护====
传承人：出现了一批优秀的长鼓舞代表人物，如中国第一代长鼓舞技艺传承人金斗昌，第五代传承人朴圣燮以及一级舞蹈演员崔美善等，他们为长鼓舞的传承与发展做出了重要贡献。
保护措施：吉林省相关部门加大资金扶持力度，在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地，并举办朝鲜族长鼓舞理论与技艺研讨会；延吉市文化馆举办了朝鲜族长鼓技法培训班，为长鼓舞的传承与发展搭建学习交流平台，培养专业人才。（延边边境村落・历史文化数字展示平台《朝鲜族非遗长鼓舞》）

===术语===
朝鲜族长鼓Korean Janggu / Korean Hourglass Drum
独舞 solo dance
双人舞 duet dance
群舞 group dance
对打起舞 dual-play dance with drum beats
扭、弹、矮、稳 twisting, springing, squatting, steadying
闪转旋跃 dodging, turning, spinning and leaping
鹊雀步 magpie step
垫步 shuffle step
三拍系统 triple-beat system
《阿里郎》 Arirang（朝鲜族经典民谣，音译）

===问题===
1.朝鲜族长鼓舞的核心道具长鼓原型是什么？
2.朝鲜族长鼓舞何时被列入国家级非遗名录？
3.朝鲜族长鼓舞的表演风格分为哪两类？
4.朝鲜族长鼓舞的第一代技艺传承人是谁？
5.为传承朝鲜族长鼓舞，吉林省在多地建立了什么机构？

===答案===
1.起源于印度的细腰鼓。
2.2008年，吉林省图们市的朝鲜族长鼓舞被列入第二批国家级非物质文化遗产代表性项目名录。
3.分为文长鼓和武长鼓两类，文长鼓动作柔和舒展，武长鼓动作粗犷刚劲。
4.金斗昌。
5.在图们市、延吉市、汪清县、前郭尔罗斯蒙古族自治县分别建立了朝鲜族长鼓舞基地。